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Concerts
BAGLIANO INVITÉ
Thursday 22 May 2014
CONTREBASSE VIENNOISE CLASSIQUE
Thursday 6 March 2014
STROMENTI ALLA VENEZIANA
Thursday 28 November 2013
LES CANTIQUES SPIRITUELS DE JEAN RACINE
Thursday 26 September 2013[/vc_column_text][/vc_column][/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css_animation=”element_from_fade” transition_delay=”250″][vc_column][vc_empty_space][separator_with_icon icon=”fa-angle-double-down”][vc_empty_space][/vc_column][/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css_animation=”element_from_fade” transition_delay=”250″][vc_column][vc_column_text]
Artistic Director’s Note
Inspired more than ever by daring artistic ideas in this its 18th year, Les Boréades continues to explore for you the inexhaustible repertoire of Baroque and Classical music. We know that the four concerts we will present during the 2013-2014 season in the magnificent Bourgie Concert Hall will fascinate you and satisfy your need for beautiful music.
The first of these concerts will be devoted to musical settings by several of his contemporaries of Jean Racine’s four Cantiques spirituels. As well, the poems will be read in their entirety by Mario Paquet.
For the second concert, we are pleased to collaborate with the Montreal Museum of Fine Art’s Fondation Arte Musica in presenting a program of Venetian instrumental music, linked to the MMFA’s exhibition Splendore a Venezia.
In the third concert we will tackle the Classical period, featuring an instrument rarely played solo: the double bass. Our guest, Francis Palma Pelletier, will play his Viennese five-stringed double bass.
The distinguished recorder player Stefano Bagliano, artistic director of the Collegium pro musica de Gènes, will join us for the last concert of the season. On the program: works by Bach and by his German contemporaries.
It is because of you, the loyal audience who support our activities and appreciate our work, that we remain as enthusiastic as ever! In the name of all the musicians of Les Boréades, I wish you a very enjoyable 18th season in our company.
Francis Colpron
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Bagliano invité
Thursday 22 May 2014, 20:00
Artists
Francis Colpron
Stefano Bagliano
Salle Bourgie
Website
Pavillon Claire et Marc Bourgie Musée des beaux-arts de Montréal 1339, rue Sherbrooke Ouest
- Regular: 35,00$
- Senior: 30,25$
- 30 and younger: 18,75$
Program
German chamber music with Stefano Bagliano, recorder, artistic director of Collegium pro Musica (Genoa)
5 instrumentalists
This concert features a friendly dialogue between recorders, playing concertos and trio sonatas by Bach, Mattheson, and Telemann. Their sometimes cosy, sometimes competitive conversation demonstrates that in this magnificent repertoire, the recorder is second to none when it comes to virtuosity and pure musical qualities. It can be every bit as expressive as the voice — and vocal expressiveness was of utmost importance at the time this music was first heard — and, when lines are assigned to two players, recorders are quite capable of sustaining polyphonic interest.
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Contrebasse viennoise classique
Thursday 6 March 2014, 20:00
Artists
Francis Colpron
Francis Palma-Pelletier
Quatuor Franz Joseph
Salle Bourgie
Website
Pavillon Claire et Marc Bourgie Musée des beaux-arts de Montréal 1339, rue Sherbrooke Ouest
- Regular: 35,00$
- Senior: 30,25$
- 30 and younger: 18,75$
Program
Trios and quartets with virtuoso double bass (Vanhal, Toeschi, Sperger, Haydn) with Viennese bassist Francis Palma Pelletier
6 instrumentalists
Throughout the second half of the 18th century German, Austrian, and Bohemian composers wrote for string quartets, the lineup par excellence for classical chamber music. They also experimented with blending winds and strings in a wide range of other instrumental combinations, including numerous trios, quartets, and quintets. As well, they sometimes relieved the double bass from its traditional role of accompanying in a deep or clownish sonority, and made it a soloist, sometimes a virtuoso soloist. In the Classical era, the kind of double bass used in Vienna — it had frets and five strings, tuned F, A, D, F#, A — was one Joseph Sperger had developed for his own use. This unique instrument, a kind of hybrid of the current contrabass and the viola da gamba, allowed for virtuoso technique and produced a sound that was perfectly adapted for chamber music. It quickly became all the rage in the Viennese salons, where it could be heard in works by Toeschi, Albrechsberger, Dittersdorf, and Haydn.
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Stromenti Alla Veneziana
Thursday 28 November 2013, 19:30
Artists
Francis Colpron
Salle Bourgie
Website
Pavillon Claire et Marc Bourgie Musée des beaux-arts de Montréal 1339, rue Sherbrooke Ouest
- Regular: 35,00$
- Senior: 30,25$
- 30 and younger: 18,75$
Program
*Note about the tickets for the concert Stromenti alla Veneziana :
Exceptionally for this concert, there is no elder rate and the usual rate 30 and younger becomes 34 and younger. Bourgie Hall Ticketing : General public – 28,27 $ / 34 and younger – 14,14 $ / VIP-Subscriber MBAM – 24,14 $ (+ tax and freshly).
A Boréades/Fondation Arte Musica co-production to accompany the MFA Splendore a Venezia exhibition
Venetian instrumental music from 1600 to 1740
(Gabrieli, Castello, Legrenzi, Picchi, Albinoni, Vivaldi)
11 instrumentalists, 14 instruments
For more than three centuries, Venice outshone its main rival, Naples, and justly claimed to be the musical capital of Italy. This claim was supported, in part, by the fact that from the 1500’s, when Petrucci had pioneered the printing of music, to the end of the 17th century, La Serenissima was home to very many music publishers. They produced a great variety of compositions, intended for both professionals and gifted amateurs. All this variety, and the growing independence of instruments from voices, a key characteristic of Baroque music, served to satisfy the Venetian passion for the art of sound. It seems, in fact, that a fruitful consequence of Venice’s decline as a world maritime and political power, which began in the 16th century, was that the city withdrew into itself and, in the process, became a world-class musical center. Tourists from all the countries of Europe were attracted to Venice, and particularly attracted by its music. The 18th century in Venice was one of the shining moments in the history of western civilization. This concert’s program is full of colorful Venetian canzonas, sonatas, and concertos, with the voices of cornett, recorder, traverso, and oboe combined with those of strings and a rich basso continuo.
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Les Cantiques spirituels de Jean Racine
Thursday 26 September 2013, 20:00
Artists
Eric Milnes
Francis Colpron
Hélène Brunet
Marie Magistry
Mario Paquet
Normand Richard
Philippe Gagné
Salle Bourgie
Website
Pavillon Claire et Marc Bourgie Musée des beaux-arts de Montréal 1339, rue Sherbrooke Ouest
- Regular: 35,00$
- Senior: 30,25$
- 30 and younger: 18,75$
Program
(Delalande, Colasse, and Marchand) with Mario Paquet, narrator (in French)
4 singers and 7 instrumentalists directed by Eric Milnes
In 1694, Jean Racine published four Cantiques spirituels, paraphrases in verse of texts from the Bible and from Saint Paul. These poems, which some rank as among the most beautiful in the French language, were written to be set to music. First, Jean-Baptiste Moreau and Michel-Richard Delalande composed settings to be sung before Louis XIV and Mme de Maintenon at the Saint-Cyr convent. Later, Pascal Colasse and Jean-Noël Marchand made settings in which a large instrumental ensemble accompanied the voices. Whether believers or not, we cannot but be moved by the texts’ perfection and profound spirituality and the magnificently expressive music to which they are set.
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